Halloween has long been celebrated as the season of ghosts and ghouls. But where do these stories and tales come from?

Dr. Favian Martín, an associate professor of Criminology and Criminal Justice, is an expert on Halloween legends and lore, and their fascinating history through time. His upcoming book, “America’s Horror Stories: U.S. History Through Dark Tourism,” will be released in December. 

The following Q&A has been edited for length and clarity.

Q: What historical or cultural origins do ghost stories have, and why are they so closely associated with Halloween?

FM: The origins of ghosts or ghost stories can be traced to religion. Every major religion has some idea of life after death, and these ghost stories reinforce the idea of a spiritual world. Take, for example, the story of Jesus Christ, who appeared as a ghost to his 12 disciples after he was crucified. His resurrection illustrated the idea that he lives on but as a spirit.

With respect to the connection between ghost stories and Halloween, it can be traced to the ancient Celtic tradition of Samhain, which was a pagan festival that took place between October 31 and November 1. Ancient Celts believed that this period of time provided a thin veil between the living and the dead in which the dead were able to roam the Earth. They also acknowledged evil spirits, so one method to confuse them was to dress in dead animal skins and furs making dressing up now a traditional Halloween event.

Q: In different cultures, how are ghosts perceived, and how do these perceptions influence the types of stories told?

FM: Ghosts are ubiquitous! I would argue that ghosts are cultural agents, tasked with explaining the meaning of life and the afterlife. However, I would also point out that ghost stories allow us to think about our anxieties on death, the unknown, and unresolved conflicts. To that end, the perception of ghosts varies from being scary and evil, to lost wandering souls, with each story portraying the ghost differently.

A story out of Gettysburg tells of a drummer boy killed in the battle, who now haunts a frat house on the Gettysburg College campus. He is often seen wandering the house when there is a party, sad and left out, because he did not have the opportunity to “live life” so to speak. Hollywood plays an important role in the portrayal of ghosts with movies like “13 Ghosts” and “Ghost Ship.” These films portray ghosts as being sinister and out for revenge, making the perception of ghosts varied as their origin stories.

In some cultures, ghosts are used to send a warning to the living. In my class, I suggest that ghost stories and/or urban legends are a form of social control. These stories are told to discourage people from engaging in behaviors that may be nonconforming to the expectations of society. The story “The Hook,” follows a serial killer with a hook as a hand who terrorizes young lovers. The story goes that a couple drives to a secluded area that is frequented by folks to engage in promiscuous activities, and in the midst of the night, a serial killer with a hook as a hand stumbles upon them. One version of the story suggests that he kills the couple, and another says he follows the couple back to their homes.

Q: What are some of the most famous ghost stories in literature or folklore, and why have they endured?

FM: Our cultural legacy on ghost stories is rich. Whether it is Dickens’ “A Christmas Carol” or Edgar Allan Poe’s “The Fall of the House of Usher,” we are captivated by the supernatural element of these stories.

For me, Washington Irving’s “The Legend of Sleepy Hollow” and the tale of the headless horseman is possibly the most famous ghost story in the United States. However, I need to point out that most major cultures had their own version of the headless horseman way before Irving wrote his story in 1820. For example, in Irish folklore, there is the dullahan, which is a demonic entity that is decapitated and can be seen carrying his head under his arm. And in German folklore, there is the Der Kopflose Reiter, which is a ghost who is missing his head, and wanders the world warning people of danger and misfortune.  The fascination with “The Legend of Sleepy Hollow” is that the ghost is a vengeful spirit searching for his missing head still haunts us to this day.

Q. How have modern Halloween traditions, like haunted houses and ghost tours, been shaped by older folklore and ghost tales?

FM: As I mentioned before, ancient Celts dressed in furs and animal skins to confuse evil spirits, and we continue that practice today by dressing up during Halloween. It is fair to point out that we have been telling ghost stories as a form of entertainment for centuries. To some degree, people find entertainment in being scared or in the presence of a ghost. To that end, people participate in ghost tours or ghost hunts as a form of entertainment. For example, Fort Mifflin in Philadelphia offers nighttime ghost hunts for people who want to encounter a spirit. Or people can spend a night at Pennhurst Asylum with the hopes of coming in contact with a ghost.

Q. Why do you think people are so fascinated by ghosts and the supernatural, particularly around Halloween?

FM: I honestly believe that we are fascinated with ghosts all year round. If you visit towns with an active ghost tour industry, like Key West, Florida, or Gettysburg, Pennsylvania, there are tour companies busy throughout the year. Especially busy during Halloween, but folks want to be scared while they are on vacation or away from home throughout the year too. To be honest, there is a lot of money to be made in the ghost tour industry. Folks spend over $250 a night to sleep in the Lizzie Borden house and experience the ghosts of Andrew and Abby Borden who were hacked to death. Some folks can spend over $100 for a two-hour investigation of a haunted house in the French Quarter of New Orleans. People want that scary experience, and in some weird way, this gives them comfort that there is life after death.

Q. Anything else you’d like to mention?

FM: Please don’t go ghost hunting on a plantation.